During the 1920s and 1930s, Alfred Stieglitz's stylish New York galleries were a mecca to artistic innovators and avant garde thinkers, those struggling to cast off the burden of American puritanical thought and the fixed idea among the intellectual elite that important art, art that was real and would last, was being made only in Europe.
At the same time Duncan Phillips, a determined art collector and heir to a steel fortune, opened two rooms of his Washington, D.C., home to begin a museum of modern art. Although he collected some of the world's masterpieces, especially French Impressionism, he kept a diligent eye on the work being done in his own country.
That Stieglitz and Phillips would meet was destiny. Their long friendship, sometimes an uneasy alliance, brought forth a reevaluation of art in American culture. Their combined vision and resources invigorated a movement and prepared the way for public acceptance of American modernism.
The uniquely American style of the artists in the Stieglitz circle - Arthur Dove, Marsden Hartley, John Marin, and Georgia O'Keeffe - defied European tradition and opened the door for artistic experimentation. In the American Grain gathers the Stieglitz circle as acquired by Phillips: paintings by all four artists, watercolors by Dove and Marin, assemblages by Dove, and Stieglitz's "Equivalents," his acclaimed photographs of clouds and sky. The bold, original style of the works included here stand together to signal a shift in the development of art - its coming of age in America.
Technology and the Visual Arts in the Nineteenth Century
What Great Paintings Say: Masterpieces in Detail
Ciampelli was, like Pomarancio and Giuseppe Valeriano, regularly employed by the Jesuits; see Hibbard in Wittkower and Jaffe 1972, 40-41. 6. Bellori (1672) 1976, 217. 7. See Urbino 1953, 35-36. in 1607 (cat. 77).
Per tale motivo , nel 1908 in America la Germantown sullo schermo , e mettendosi a cantare sul filo dell'accompagna- Citizens ' Association mise al bando questi copricapi da " vedova mento musicale . Un simile coinvolgimento era ...
In the 1940s the Mandragora group around Braulio Arenas and Enrique Gomez Correa emerged in Santiago de Chile , distinguishing Surrealism from the Stalinism of the poet Pablo Neruda . In Buenos Aires the flavour of the movement was ...
Catalog of a traveling exhibition first held at the Museum of Fine Arts, Houston, Apr. 2-Aug. 28, 1995.
The art of Betye and Alison Saar: secrets, dialogues, revelations : Wight art gallery, University of California Los Angeles, [January...
According to A. Sutherland Harris , this painting bore an attribution to Jan Asselijn ' until it was recognised as a work of Du Jardin by Otto Naumann in 1984 ( privately ) . This was confirmed by R. Trnek and accepted by both A. C. ...
David Smith: Drawing + Sculpting : [exhibition], Nasher Sculpture Center, Dallas, April 16 - July 17, 2005
Abstrakter Expressionismus (Abstract Expressionism, Dt.). Der Triumph Der Amerikanischen Malerei